章明导演的作者电影作品明确地展现出一种对地理环境与空间场所的浓厚兴趣，并且，这种空间兴趣同时是以一种后现代的影像伦理展开的。为能够深入探究章明相对费解的当代电影作品诗意产生的原理，本文将以空间为切入点，通过对其影片中场所形象的诗学研究，展开对其影片中场所形象修辞法、形象想象及形象真实性的考察。研究发现，章明作者电影对空间的关注与其后现代的影像伦理之间是紧密关联、甚至在本质上是一体的：一方面，形象遵循了的空间性的逻辑，另一方面，空间则作为形象，充斥着语言与梦想，从而使得电影最终完成对真实空间的表述。该诗学研究最终勾勒出的是一首后现代的场所影像之诗：电影中的物质环境在保留其绝对的物质性、外部于主体的意向性结构的同时成为主体意识精神的外部化身——作为诗的章明作者电影本质的存在方式，正是如是的一种人地关系。

The films d’auteur of Zhang Ming show a quite distinct interest in topographic space, which the very interest also has a deep relatedness with its post-modern ethic of image. In order to give an insight to the poetic principles of Zhang Ming’s films which are relatively obscure, the article will conduct, from a point of space, a poetic study of the rhetoric, imaginations, and the authenticity of topos images. In conclusion, the research finds that, the attention spatial of Zhang Ming’s films and their image poetic priciple are authenticly one: from one hand, images abide by a spatial logic. From another hand, the spaces qua images are filled with dreams and discours, and therefore allow the films accomplish an expression of authentic spaces instead of purified abstract spaces.